Over the years, being a collector of "crow prints" himself, this author has always kept a keen eye "turned skyward" with interest towards new "crow sightings." As a result, from time to time, new prints are obtained which then allow for further study, comparison, and contemplation. (An additional few examples of "crow prints" can be viewed via an earlier short article titled earlier article titled "Crows -- As Seen in Japanese Prints.")

The large “jungle crow” (Corvus macrorhynchos) is native to Japan, and has been seen it Japanese artwork for hundreds of years, and according to folk belief, was believed to be a messenger from the Gods. Despised today by most Japanese for their "garbage-spreading" habits, in the past, various Shinto shrines throughout Japan were know for their annual festivals and offerings of symbolic “rice cakes” to these “birds from the Gods.”

Whatever the reason for their artistic popularity, the jungle crow has often and repeatedly appeared as the subject of woodblock prints. Alone, the artist Koson is known to have produced over 30 different “crow designs,” many of which are eagerly sought after by Japanese print collectors. Of course, many other Japanese artists have produced their own “crow designs” as well. This proliferation of “crow prints” by various Japanese woodblock artists does, from time to time, raise questions of “originality of design,” and in some cases, it appears that even outright plagiarism must certainly have occurred. And this possibility is certainly easy to understand when viewed from the “potential profit perspective” of competing Japanese publishers when they must have seen other publisher’s designs selling well. (This subject of the “copying” of popular “Shotei images” by other artists/publishers has been dealt with in a scholarly manner at Marc Kahn’s Shotei.com website under the sub-title " Re-strikes or Plagiarism.")

Often, when viewing “similar-looking” prints, it becomes a matter of “the chicken or the egg syndrome”—that is, trying to best guess the likelihood of “which came first.” In many cases, we’ll likely never know as the precise dating of may early Japanese prints is simply not possible. In any case however, the comparisons and speculation can certainly be fun. One such example is the case of the four “crow prints” seen just below. Which of these four prints do you think are ORIGINAL designs??? Study all four images for a moment—can you tell which are the "chickens" and which are the "eggs"??

"Crow/Blossoms" by Hotei                    Keinen                       Koson                      and Koson                

Determining the exact dating of these four "crow" prints is difficult at best, as nearly all "tanzaku" (tall/narrow format) prints of the early 1900's were produced typically without titles OR the margin-dating seen in most other "oban" prints of this period. However, some reasonable estimations can be made based on publisher's catalogues and/or the known time periods of various publisher's production. Here's what seems reasonable on the above four prints:

   (1, Left) Artist: Hotei (dates unknown, but active 1920-30); Publisher: Unknown.

   (2, Left/center) Artist: IMAO, Keinen (1845-1924); but.... Publisher: Shima Art Company (New York/Tokyo), active 1930's.

   (3, Right/center) Artist: OHARA, Shoson "Koson" (1877-1945); Publisher: Daikoku-ya (Tokyo), active 1818-1923.

   (4, Right) Artist: OHARA, Shoson "Koson" (1877-1945); Publisher: Daikoku-ya (Tokyo), active 1818-1923.

It therefore seems almost a certainty that the two Koson prints (right) were the earliest designs from this set of four similar designs--with the "active period" of artist Hotei (1920-30) and the Keinen's publisher's "active period" (Shima Art Company, active 1930's) dating these two prints (left) as likely later.

To gain an additional "perspective" of the apparent "design similarities" of (and perhaps outright copying of) the LATER Hotei and Keinen prints when compared to the EARLIER Koson "Crow," we have digitally INVERTED the Koson print's image as seen just below.

Remember however, one of the means of copying or reproducing a woodblock print during the early 1900's was to simply take an EXISTING print and then GLUING it "face-down" (backwards) onto an un-carved "key-block" of cherry wood. The carver then need only to carve through this same-as "hanshita" to produce a near duplicate of the original print. (To learn more about the print design/carving process, see our article titled "Hanshita," or Black Ink "Key-block" Outlines.") It's only then a LOGICAL EXTENSION of this "glue-it-down and carve-through-it" process to envision the simple and intentional reversal of the paper image to purposly produce a "different-looking" (but "similar") image. In this author's opinion, that clearly seems to have been what was done here. Take another look:



                                    (INVERTED)

The first 3 Prints (Hotei, Keinen, and Koson), PLUS the Koson print "digitally INVERTED"

To further support this idea of "how" such a similar looking print was quite likely produced by this method, just below is a final close-up view of the Hotei "Crow" next to the INVERTED Koson "Crow." To be sure, the prints are NOT identical. But the nearly identical designs of many of aspects of the two prints seems to rule out the possibility of two totally and independenlty designed images. Note the very similar "clusters" and placement of the various groups of cherry blossoms, for example. The final "clicher" then being the nearly exact same "positions" of 3 of the 4 falling cherry blossom petals. No doubt, we think, that the Hotei print was thusly produced FROM the Koson image.



                                    (INVERTED)

Close-up Comparison of the Hotei "Crow" and the "digitally INVERTED" Koson "Crow"          Hmmm.....

A further point which this author wishes to make is that our study of “variant” or perhaps “copied” designs is in NO way intended to diminish or “place a lower value” on prints which are believed to have been done later perhaps in some cases as copies. In many cases, it is simply not provable which design may have come first—nor, on the other hand, is there really any purpose gained in doing so. From our perspective as collectors of Japanese prints, ALL woodblocks are viewed as being magnificent works of art and are deserving of our study and admiration. Indeed, in some cases “variant designs” can be even MORE highly sought-after due to their rarity or the “unique perspective” which they offer to the study of Japanese prints.

The entire subject and study of “variant designs” is without doubt an interesting pursuit and is deserving of our further study. Such a more in-depth study will most certainly be the topic of an upcoming and longer Ukiyoe-Gallery.com article.


#3 -- January 29, 2003 -- Joined Head to Head

Being collectors of Japanses woodblocks ourselves, over the years we occasionally find ourselves stumbling upon prints (often coming from different sources) which raise questions--or at least our curiosity--about one thing or another. One such occurance was a couple of years ago when a second "duplicate copy" of a well-known Ito Shinsui print ("Rouge," in the form of a "trail print") was obtained. Both of these unsigned/unsealed "trial prints" are shown below, along with an example of a "signed" and "sealed" final copy seen at the far right.

2 copies of ITO Shinsui's 1930 "bijin-ga" -- "Rouge" trial printing (without seals)     "Rouge" final printing (with "signature/seals")



Although initially little thought was given to these two prints' humble beginnings, it was later realized that they seemed to both share similar "paper flaws." It was then upon a closer side-by-side comparison that we noted both "oban" sheets were indeed cut from the SAME sheet of paper. Knowing that typically FOUR individual "oban" sheets (each about 10 x 15 inches) are cut from each original FULL (larger) sheet of Japanese hand-made paper, we indeed recognized several continuous "paper flaws" which ran lenghtwise through BOTH of our prints. Giving it further thought, we then realized that--as "only trial prints"--this was why this flawed sheet of paper was chosen to be used.

As you can see, by inverting the second print and placing them head-to-head, one can easily see that these two beauties were previously cut from the same sheet of paper.



Verso of same Pair of Shinsui's "Rouge" prints placed "head-to-head" (note continuous "flaw" running through both papers)



"So what?" you may say.... Well, admittedly, it really means nothing at all. But it just struck us as incredibly odd--leaving us wondering out loud, "What's the chance that two consecutively printed "bijiin-ga" prints, separated at birth, would again be "reunited" after likely 70 years of separation? (One copy was obtained in San Diego, while the other came a couple years later from a collection in Chicago.)

Pretty amazingly long odds, we thought...!!




#4 -- March 15, 2003 -- Seeing Double .....Again

As we've pointed out before, being ourselves avid collectors of Japanses woodblocks prints, we occasionally encounter prints which--for one reason or another--catch our eyes.

One such odd feeling of "deja vu" occured upon the recent arrival of a WATANABE Seitei "Gulls over the Waves" print. Although in some respects different, this Seitei print sure did seem in many ways to be "awfully similar" to a Koson image of similar design. So we dug out the Koson print, placing both prints closely side-by-side together for a closer look (both prints are pictured just below).

Koson's "Gulls Over the Waves" (undated, ca1930's)      Seitei's "Gulls Over the Waves" (undated, ca1930's)



As can be seen, both prints have three seagulls flying overhead, with similar-appearing waves seen below. Clearly, both of the print's "right" gulls seem to be nearly identical, while both print's "lower" gulls again seem to be the "same" except for the fact that one has seemingly been "reversed" (transposed). The third gull seen in each print being clearly different.

Clearly then, at least to our thinking, it seems that the Seitei "Gulls over the Waves" print (published by Shima Art Company, ca 1930's), was most likely copied--perhaps even using a copy of the earlier Koson "Gulls" print (Adachi, ca 1930's) as a template ("hanshita"). To do so, it seems likely that these two "gulls" were perhaps even cut from a sacrificed Koson print, then glued onto an un-carved woodblock--with, of course, the "lower" gull glued down reversed.

To further illustrate the nearly identical shape and design of these two "sea-gull pairs," we've digitally set both pairs side-by-side (just below) for a closer look. Again, no doubt to our eyes that one is a copy of the other.




"Identical" Koson and Seitei "left-facing gulls" set side-by-side



"Reversed" (but identical) Koson and Seitei "lower gulls" set side-by-side



"What then," you may be asking, "does all of this mean?" From our perspective, these two prints simply illustrate the agressively competitive print-selling atmosphere which must certainly have existed in Japan during the booming "shin hanga period" of the late 1920's and 1930's. Clearly, one publisher seeing the success of a competitor's print sales, would a times find it opportunistic to "offer a similar" well-selling design. From what we know of Japanese entrepreneurs engaged in the production of woodblock prints, they were indeed highly competitive and shrewd businessmen. Hence, the "copying" of a well-selling design should not seem at all surprising.

And finally one might ask, "How do such prints "fit into" the collecting of Japanese woodblock prints?" Our reply--generally speaking--is that each and every print stands alone, to be judged primarily on its own unique technical merits. In other words, how skillfully were both the carving and printing executed? Furthermore, a "copied" print historically "speaks volumes" as to the popularity and desirability of a given image. In many cases, the copied print may even be more rare--and hence, more highly collectable. Finally, to a consumate collector, having BOTH prints together in one's collection can offer the additional satisfaction of allowing such contemplative side-by-side comparisons.

Stay tuned--we've got a few more such "look-alikes" to show in the near future.




#5 -- April 18, 2003 -- Seeing Double .....This time, "Shunga"

Predictably, we've recently noted another pair or prints which has again caught our eyes--this time, prints belonging to the genre of "shunga" (erotic prints)..

The "similarity" of these two prints was not noted at first, but then it dawned on us..... Again, that odd feeling of, "haven't we seen this before?" The two "shunga" prints we're talking about are pictured just below, laid together and thusly shown in their true sizes. Both are prints we've titled as "Upright Embrace"--and, as is typical of nearly all "shunga" prints, both are unsigned (due to censorship and restrictive Japanese laws). The top 1880's print is attributed to Kunichika, while the bottom 1830/40's print is attributed to simply the "Utagawa School."

Kunichika's "Upright Embrace" (ca1880's) top;      earlier Utagawa School's "Upright Embrace" (ca1830/40's) bottom.



As can be readily seen, both prints seem to share an "oddly similar" design. Admittedly, they are NOT completely identical; however it does seem quite likely (at least to our thinking) that the Kunichika print must have been based largely upon the earlier "Utagawa School" version. Pictured again just below are both prints again set side-by-side for your own considertion.




Another detailed look of both "Upright Embrace" prints set side-by-side



Clearly, upon examination, there are many similarities seen in both prints: arms gripped in the same location; feet with toes curled in the same manner; lower arm and leg "cross-over" the same; and heads in same position. And, althought distincly "different," even the clothing and the bedding items are laid on the floor in a very stylistically similar manner.

Again, at least to our eyes, there's little doubt that one print is largely a "copy" of the other.

As before in the cases of other prints which may have been "copied," again we will tell you: "no crime" and "no surprise." Artists have done so for centuries. Bottomline, observations such as these are simply what makes collecting prints so much fun.

Continue to stay tuned--we've got still more "look-alikes" to show in the near future.




#6 -- April 30, 2003 -- Announcing the Passing of Robert O. Muller, Collector (1911 to April 10, 2003)

It is indeed with deeply felt sorrow that we are today passing on the news of Bob Muller’s recent death. Although we have not yet heard specifics, word has reached us that Bob has left this planet Earth a few short weeks ago.

The loss of Robert Muller upon the Japanese print collecting community will indeed be deeply felt. Bob was well-known for his deep love of “shin-hanga” prints—having developed a passion for woodblocks during the “Depression years” of the early 1930’s. His first apparent association with Japanese prints was in New York City, where he is reported to have purchased his very first Hasui prints for a mere $5.00 apiece (see below).

Bob Muller's first woodblock print purchase -- "Kiyosu Bridge" (1931)


Of course, Bob’s pursuit of Japanese prints has since become legendary—his personal collection itself becoming the comprehensive body of prints presented in the landmark 1993 book, “The New Wave – Twentieth-century Japanese Prints from the Robert O. Muller Collection.” (This fine 228 page book is now long out-of-print and is virtually unobtainable; if you’ve not “seen” it, make it a point to borrow a copy via your own public library.) During the early 1940’s, Bob traveled likely several times to Japan, becoming well-acquainted with the publisher Sozaburo Watanabe, as well as personally meeting with artists such as Hasui, Kasamastu, and Ito Shinsui. Through these contacts, and Bob’s own intense personal attraction and interest in woodblocks, much has been contributed to the growing scholarship of Japanese prints.

Friends of Bob speak of both his hospitality and passionate enthusiasm in “the sharing” of his woodblock print collection. Although neither Andreas nor I have personally met Robert Muller, our good friend Marc Kahn has. Marc speaks with an obvious fondness felt toward the common interest he shared with Bob during a recent two-day visit to Bob’s home—a time reportedly spent simply “viewing prints” and “talking about print collecting.” Although Bob was 90 years of age at the time of this last year’s visit, Marc describes lengthy, detailed, and passionate discussions with Bob regarding the collecting of Japanese prints. Hopefully, Marc will relate some of his experiences and stories shared with Bob in an upcoming article at his Shotei.com website.

(ADDENDUM--He now has... see Marc's excellent article, detailing the lifestory of Robert O. Muller (1911-2003).)

Bob.....indeed, we will miss you.

However, you can also be certain in the knowledge that we
will keep alive your passion felt toward Japanese woodblocks.

Robert O. Muller (1911-2003)

(Photo courtesy Marc Kahn, Shotei.com)

(According to a Washington Post article dated May 24, 2003, we now know that Robert Muller's entire collection of 4,000-plus prints has been bequeathed to the Smithsonian (click HERE to learn more).


ADDENDUM (October 2003)
We now know that although some 4,000 prints of the Robert O. Muller "Collection" were indeed donated to the Slacker Gallery of the Smithsonain Institution, this large donation clearly did NOT, in fact, include "all" of Bob's prints. For this reason, a delightfully random sampling of Bob's "duplicate" prints are now finding their way onto the marketplace. Many of these prints appear to be seldom seen, and a few of them appear to be quite unique.

Additionally, we can also now reveal that in the months (actually last few years) prior to Bob's death, his family had already begun to "quietly disperse" what were clearly at that time "duplicate copies" of prints held in Bob's massive collection of prints. In nearly all cases, these have been prints in "nearly pristine" condition--having been securely stored inside the numerous large "fire safes" within which Bob stored all prints within his humidity-controlled "red Barn." A number of these prints have been (and will continue to be) offered by us at Ukiyoe-Gallery.com, and are--when KNOWN to be of Muller's Collection--noted in these prints' individual "Comments" section as such.




#7 -- May 01, 2003 -- Seeing Double in 1805?? (We don't think so this time.....)

OK, it’s time now for a good laugh. Perhaps all readers may not agree, but we found this recent eBay Seller’s auction description to be especially entertaining:

eBay Auction Item



Toyokuni woodblock print (ca1805)



Seller's description:

“This is the third of 3 genuine woodblock prints that I am selling tonight. These pieces come from the estate of a New York collector and are 100% guaranteed to be authentic. This print was made in the Bunka Era, c.1805, and depicts the Shogun's Shrine at Uyeno. The style of print us uki-e, which translates as "perspective picture". These prints were popular with children for the 3-D effect they created when put into a machine with lenses. This is a 200 year old print and the colors have faded somewhat.”


While we were, of course, already familiar with the various hand-held 3-D viewing devices used over the past century or so, we didn’t believe they existed as early as 1805, so we did some checking.

Although the basics of how the stereoptic (3-D) viewing were first laid out as far back as ancient Greece when Euclid explained the principles of “binocular vision,” (by demonstrating that the right and left eyes see slightly different “versions” of the same scene and that it is the brain’s merging of these two images that produces the perception of depth), the EARLIEST recorded stereoscropic devices date to either 1838 or 1852, depending on the source quoted.




Stereopticon Viewer (dated July, 1901)



During the late 1800’s, "stereopticon" viewers became very popular, allowing their users to enjoy three-dimensional photographic views of many of the world’s famous sights, as well as “adding a new dimension of enjoyment” to the more risqué viewing of nude photographs. Clearly, before the days of television and other technological distractions, these were popular sources of entertainment.




Tru-Vue's 1950's Stereopticon Viewer and Kodak's Paired-Slides



More modern versions of the “stereopticon” continued to evolve and remained popular until even as late as the 1950’s and 60’s due to affordable versions produced by GAF, which then used rounds discs of “paired images.” Predictably however, the growing popularity of television ended viewer’s charm with these stereoptic devices.




GAF's 1960's "Viewmaster" Viewer and Circular Paired-Slides



Turning then back to our earlier amusement over this Seller’s apparent “belief” that Japanese children enjoyed a “3-D effect (when) they (viewed woodblocks put) into a machine with lenses”—we were struck with the realization that IF this were true, it would have then required the carving and printing of TWO slightly different angled “views” of the same print image.

Gosh--that would have meant that the carvers and prints would have to do twice as much work: both carving and printing two sets of slightly "different views" of each print.... Then of course, as collectors, we’d have twice the number of prints to collect.

We're already rubbing our eyes, which are now starting to hurt just thinking about this....




#8 -- May 07, 2003 -- How Big?? ....This Time Seeing "Double-Oban"

Just recently we took some "farewell photos" of three beautiful, over-sized Hiroshi Yoshida woodblocks that we've recently shipped out to one of our fine customers. These "double-oban" prints are REALLY large--much bigger than perhaps most collectors realize. Having an "image size" of about 14 1/8 x 20 inches (about 36 x 51cm), these prints are even greater than TWICE the size of the standard 9 1/2 x 14 1/4 "oban" print.

Three of Hiroshi Yoshida's LARGE "Dai-oban" 1926 "Sailing Boats Series" Prints



These three fine "sailboat" prints date from 1926, and were a part of Hiroshi's 9-print "Inland Sea Series" ("Seto-Naikai Shu"). Six of these prints were of essentially the "same image," being 6 variant images printed off of the SAME set of woodblocks which bacame known as the "Sailing Boats" series. These astonishing prints all shared the same keyblock (as well as other common blocks), however are strikingly different--achieving totally different moods throught the use of different colors to represent "different times of day." These 6 variant prints include "Morning," "Forenoon," "Afternoon," "Mist," "Evening," and "Night." (Seen above are "Night," "Evening," and "Afternoon.")

The year 1926 was also to become the most productive year of Yoshida's lifetime; a year in which an astonishing 41 of Hiroshi's lifetime total of 259 prints were designed and produced during this single 12 month period.

One of the amazing (and cetainly under-appreciated) aspects of any of these such large-sized prints is the technical difficulty encountered during their printing. With the expansion and shrinkage of both woodblocks and of papers during the multi-day/multi-step printing process, acheieving accurate "registration" (alignment) of the various details and colors became increasingly challenging and therefore more difficult. It is further reported that some of the few even larger prints attempted by Hiroshi (such as yet again twice as large 28 x 40 inch (54 x 80cm) "Sea of Clouds" and "Rapids" prints of 1928) were so large and cumbersome that their printing required the simultaneous use of TWO skilled printers who worked together as a single "printing team."

Because of these and other difficulties, one can today be certain that large numbers of these larger-than-oban prints were never produced. Additionally, due to the simple fact that later/recent 1980's/90's copies of these prints are NOT available, clearly it seems that these large prints' blocks must have cracked or otherwise become unprintable.




A Direct Size Comparison: "Oban" ("Hirosaki Castle") and "Double-Oban" ("Sailing Boats, Afternoon")



Finally, as we've attempted to show by the above simple side-by-side comparision, these over-sized "double-oban" prints really do dwarf their usually encounted common "oban" cousins. For a few additional comments: Here's More.





#9 -- July 03, 2003 -- An Amazing 10,000 and 20,000 Hasui Prints Struck Off SAME “Block Sets”

An amazing “factoid” has been gleaned from the long-awaited and June-released 600 page “Hasui 2-volume Bookset” just released by Hotei Publishing, “Kawase Hasui – The Complete Woodblock Prints.”

Curious about what this new reference might have to say about the 1935 Watanabe-published “calendar/poster print” titled “The Miyajima Shrine in Snow” which was commissioned by the Pacific Transport Lines, Inc (Japanese Railway Ministry), we turned to page 106 and found ourselves shocked by what we read. Hotei reports (according to the earlier 1979 Japanese “Narazaki” reference) that an astonishingly large printing reportedly numbering to 10,000 sheets were printed of this fine image. Even more amazingly, we are told that this entire printing run was pulled from this print’s single/original block-set!!

Hasui's 1935 Prints "Dawn Over Lake Shoji" and "The Miyajima Shrine in Snow"



Hotei further related (also page 106) that of another Watanabe-published Hasui print of the same year (1935) also commissioned by the Japanese Railway Ministry, the “chuban-sized” calendar/poster print “Dawn Over lake Shoji,” it is reported that 20,000 prints were struck—again, all copies being struck from this print’s original blockset!!!

These numbers are truly astonishing, as it is commonly believed that even the largest printings of the most vastly popular and widely printed Hiroshige masterpieces of the mid-1800's were not thought to have exceeded 10,000 copies. And, among these widely printed Hiroshige prints “block-wear” is commonly apparent, due to the repeatedly heavy hand-rubbing done by the baren tool while printing each color.

Despite these reports of such large numbers of prints made, clearly our experience indicates that a vast majority of these fine Hasui prints were simply “tossed-out” by their 1935 owners. Today, only a very few copies seem to surface in a given year; hence, based on “sightings,” these fine prints appear to be quite rare.





#10 -- July 16, 2003 -- Japan's Own “Antiques Roadshow”

Similar to the popular United State's television "Antiques Roadshow," Japan it seems has their own version of this entertaining program.

From Tokyo, Andreas reports viewing this very popular TV show where Japanese people can bring in their collectibles and pieces of arts and then get their items appraised. Just this past week, the grandson of Watanabe's "master printer," Ono Gintaro, attended this show with a package of 170-some shin-hanga prints, mostly designs by Shinsui, Hasui, Shunsen, Kasamatsu and others.

The value of these 170 prints was estimated to exceed 30,000,000 Yen--or approximately US$250,000 (or, about $1472 per print). Want to know who the appraiser was...??

None other than Shoichiro Watanabe, the grandson and present day owner of Watanabe Publishing!!





#11 -- August 05, 2003 -- Big Stork, Little Stork

Many of our readers are likely already familiar with woodblock print artist David Bull, a former Canadian, who now lives and works from his home in Tokyo, Japan. To those who are not--well, David maintains an incredible website, David Bull's Woodblock Printmaking Website, which is devoted to providing a wealth of detailed information about "how" woodblock prints are created. Now a woodblock print artist for over twenty years, David began his woodblock print career by producing an exhaustive 100-print series titled "Hyaku-nin Isshu" (a series of 100 prints depicting poets of old Japan) which he completed from 1989 to 1998 and sold "by subscription" to his growing list of loyal clients.

Tokyo Woodblock Printmaker David Bull

For his next project, David then turned in 1999 to the production of what has since become an "annual set of ten 'surimono' prints" (again, sold by subscription to his customers), a project that he has continued until present day.

That introduction given, we at Ukiyoe-Gallery.com were quite pleased when our old friend David contacted us out of the blue a few months ago, asking us if we would be able to provide to him a "copy" of an old Urushibara "Stork" print (from this author's "personal collection") to use as a model for one of his upcoming "2003 Surimono Album" prints.

Of course, we said "yes"--Dave's the kind of a guy who has himself always been helpful and accommodating--so we immediately sent to him the close-up images and details that he requested.

Given then the passage of a few months time to "do his magic," here then (seen just below) is what David was able to produce as his own 5 3/4 x 8 3/4 inch "surimono" version of this previously done "oban-sized" Urushibara print.




Urushibara's "Stork in the Rain" (undated, ca1920's/30's)            Bull's "Stork in the Rain" ("surimono" print, 2003)

As can be seen, both prints are virtually identical--master printmaker Bull has not only faithfully reproduced the print's design in minature, at the same time he has also "scaled down" and similarily reproduced the original 1920's/30's print's deep "gauffrage" faithfully in his 2003 "surimono" version (as seen just below).




"Gauffrage" of Urushibara's "Stork in the Rain" (ca1920's/30's)          Bull's slightly enlarged "Stork in the Rain" ("surimono" print, 2003)

Finally then, for an closing comparison of these two prints, we've simply laid Bull's smaller "surimono" onto the top of our larger (original) "oban" of the same "Stork in the Rain" print for the comparison seen just below. As one can readily see--and hopefully appreciate--producing such a faithfully minaturized version unquestionably demands a very high level of technical skill.

And here again, the reader is reminded that David is himself BOTH the "carver" and then the "printer" of these fine prints.




Bull's "Stork in the Rain" ("surimono" print, 2003) on top of Urushibara's "Stork in the Rain" (ca1920's/30's)


Hat's off to David Bull--well done!!

As a bit of an aside, we'll add Bull's OWN comments......just to show what a truly modest guy he is:

I'd rather that you didn't use the expression 'master printmaker'
though! I'm 'just' another printmaker, and going by the standards of
the Edo-Meiji eras, certainly nothing like a 'master'!!

--Dave

To further illustrate the skills of printmaker David Bull, another upcoming "Tid Bit's" article will feature one more of David Bull's earlier works. Stay tuned......




#12 -- August 13, 2003 -- "The Washington Post Magazine" Speaks of Crows

We at Ukiyoe-Gallery.com are pleased to announce the inclusion of one of OUR website's "crow images" into the just published August 3, 2003 issue of "The Washington Post Magazine." Along with four other crow pictures, our famous 1927 "Two Crows in Moonlight" image by Koson was solicited from us by "The Washington Post," chosen then as the frontispiece to this rather lengthy 12 page article by Mary Battiata titled "Crows: A Murder Mystery."

Cover of "The Washington Post Magazine" and the inside "Crows: A Murder Mystery" Article



Without going into detail, we will simply tell you that this entertaining article tells of its author's poignant discovery that her friendly neighborhood crows of previous years had suddenly disappeared. The reason: mosquito-born "West Nile virus" which is known to strike crow populations especially hard.

Sure--no doubt many readers of this article may likely think at first, "So what?? ...Only crows. Glad to see 'em gone."

However, I will caution you also: Be careful..... Like countless other things that we all seem take for common--you, too, may find YOURSELF surprisingly "missing them" when they're gone.

In my own case, having long been personally an admirer of crows (and, in fact, having had the honor of spending 63 days last mid-summer hand-raising a baby crow), I'm painfully aware of the westward march of "West Nile" and what it will surely mean to our neighborhood's crow population.

In reporting the news of this first usage of our Ukiyoe-Gallery.com's images (and more will soon follow), it is rewarding to realize how well-traveled and accessible our website has become to viewers worldwide.

Thank you for your viewership.





#13 -- August 14, 2003 -- "Tricycle -- The Buddhist Review" Magazine Speaks of Conservation, and Crows

We at Ukiyoe-Gallery.com are again pleased to announce the inclusion of one of OUR website's "crow images" into the just published Fall 2003 (quarterly) issue of "Tricycle -- The Buddhist Review" magazine. In this article's case, another of our website's "crow images," a rare ca1900's "Crows on a Branch" image by an unknown Japanese artist (from this author's personal collection) was solicited from our website to be used as the lone illustration to this 4 page article by John Elder titled "Dust of Snow -- Awakening to Conservation."

Cover of "Tricycle -- The Buddhist Review" magazine and the inside "Dust of Snow -- Awakening to Conservation" Article



In this thoughtful essay by Elder, the delightfully unexpected observations of "crows landing on branches" and "the dustings of fallen snow" are topics of reflective focus in a broader discussion of the conservation movement.

And so, blended together in an odd juxtaposition of cultures are a poem by Robert Frost with a haiku by the Japanese poet Basho. Despite our daily hurry and focus on "getting things done," clearly there is an inner need in all of us to find ourselves suddenly halted by such magical moments of which Elder speaks.

Myself?? Well, I too share a passion towards these big, black magical birds which can often so totally and unexpectedly interrupt my day. Frozen mid-step, with my head turning to watch their overhead flight, I'm sure many of my fellow earth-bound inhabitants fail to understand my fascination.




Author's Pet Baby Crow (and summertime friend) "Karasu" (July 2002)



In my own experience, having many fond memories of a shared 63-day long friendship with an abandoned baby crow (named "Karasu," of course) may perhaps be the topic of an upcoming Ukiyoe-Gallery article. That summer together, we each learned a lot from one another about "life," and how to best live it.

Reporting this continued usage of our Ukiyoe-Gallery.com's images is again a rewarding experience. (Another image--to be used on the cover of a Canadian textbook--will soon follow.)





#14 -- October 30, 2003 -- "A Chance Visit to Watanabe Publishing (October 18, 2003)"

During a recent family vacation and sight-seeing weekend visit to Tokyo, it was suggested by Andreas Grund, our good friend and host, that we take a few moments to stop by for a quick visit at the world famous Watanabe Print Shop.

Tokyo host, Dr. Andreas Grund in front of the Watanabe Print Shop



Totally unannounced, but clearly well-known among Tokyo’s “inner circle” of print dealers, we were warmly greeted by Watanabe’s staff as we began to spent a few brief minutes browsing prints. Soon however, to our complete surprise, we were further greeted by Shoichiro Watanabe who is the current day President of Watanabe (and grandson of founder, Shozaburo Watanabe) who was apparently informed by his staff of our visit. Also present was Shoichiro's mother, Mrs. Tadasu Watanabe (the widow of Watanabe’s second owner).

Of course, this unexpected meeting soon afforded us the opportunity of making a bit of “print chat,” and so we offered our praise of their recent “new re-releases” of prints and asked some questions.

Asking about “edition sizes,” we learned that today’s recent Heisei-sealed print editions have been printed in editions of 100 prints. We further learned that only two printers are currently employed by Watanabe—with a single 100-print edition taking about three full weeks to complete. This production speed was a bit “slower” than we actually had expected, however some of this time is certainly due to the consummate care with which today’s prints are produced.

Unquestionably, in our experience, Watanabe’s printing quality has truly remained “top notch” and so we let Shoichiro know of our honest feelings and appreciation in this respect. At this point, we further learned that there was indeed a certain “quality control” person in charge: Shoichiro proudly let us know that he himself personally inspects all new prints and rejects those few which are not deemed to be perfect.

Next, we asked when print collectors around the world could expect Watanabe’s next release of prints. The reply, “sometime early in 2004,” depending somewhat on what further progress could be made on re-assembling the many dozens of woodblocks that have been scattered about in various storage locations throughout Tokyo for the many decades since WWII. (We had learned earlier that during the wartime fire-bombings of Tokyo, that these valuable woodblocks had been hastily relocated to various non-Tokyo, rural locations.)

Somewhat to our surprise, Shoichiro next told us of a growing appreciation for woodblock prints even within Japan itself. It seems that a growing number of today’s Japanese are themselves choosing to display these prints within their homes.

To further encourage this growing (Japanese) domestic interest in these “shin hanga” prints, Shoichiro proudly told us of an upcoming exhibition of his firm’s prints to be held at the Maruzen Bookstore, most probably this next February 2004.

It was then during this ongoing discussion that our attention turned to an “unusual” and interesting print that hung on a nearby wall. As we had believed, it was indeed confirmed that this wonderful “Fuji” print’s artist was none other than Watanabe Print Shop’s founder, Shozaburo Watanabe. As one of ONLY two designs for which he is known, this 1937 “(Fuji from) Lake Kawaguchi” print (below right) bore the earliest possible Watanabe “A-seal” in its lower right margin. We learned that in designing this “Lake Kawaguchi” print, Shozaburo had actually used a photograph, whose image he then carefully traced onto paper. He was said to then even taken a half-round chisel “in-hand,” himself actually caving some of the rough wave pattern seen in the print’s foreground. (For a further discussion of these rare and unusual prints by Shozaburo Watanabe, see “The New Wave,” page 35.)




“West Park, Fukuoka” 1936 and “Lake Kawaguchi” 1937



And so, to conclude this wonderfully unexpected interview, we asked Mr. Watanabe and his mother to pose for us……holding Shozaburo’s “Fuji from Lake Kawaguchi” print for our camera. In a certain way then, all three “generations” of Watanabe publishing were thusly present for this chance meeting.




Mrs. Tadasu Watanabe and Shoichiro Watanabe, holding Shozaburo Watanabe’s print







#15 -- November 22, 2003 -- "Chickens.... or Eggs.... -- Which Came First??"

Like many of our readers, we too at Ukiyoe-Gallery.com have many "images" etched indelibly into our minds. Indeed, as Arthur Ficke wrote nearly 100 years ago “Once one knows (an) image (it) is ineradicably stamped upon the memory......I can never lose them, they are a part of my vision."

And so, at times we instantly find ourselves taken aback by images that we seemingly randomly encounter--images that literally "jump out" at us and beg us for our further attention. Such was the case with a couple of VERY old Japanese black-and-white photograph post cards that we recently found. Reminding us very much of images already well-known to us, we then dug out our actual woodblock prints for a closer look. Here's what we found.....and some observations.....

Old 1920's(?) Japanese Post Card -- Hasui's 1933 Print "Zaimoku Island, Matsushima"



Upon first glance, the above post card's photographic image of Zaimoku Island and that of Hasui's "Zaimoku Island" print looked to be simply "interestingly similar." But being ones with always inquisitive minds, we were intuitively drawn to examine things more closely. Take then with us (over our shoulders) a closer look as we take examine things a bit more closely as seen just below.....




Close-up Detail of Old 1920's(?) Japanese Post Card and Hasui's 1933 Print "Zaimoku Island, Matsushima"



Immediately, we are struck by the strongly similar appearance of the two sailboats--not only their shapes (sail, rear rudder, single occupant, and boat itself), but also by their identical right-facing position. Sure, the sailboat has been "moved a bit" to the center of the rock archway, but it certainly looks like the SAME sailboat to our eyes. Turning next to several other elements of both prints' composition, we are similarly struck by the virtually identical shape AND shading seen on the rock archway, and even the shape of the trees at its topside.

Although it is purely conjecture and opinion on our part--and although it is well known that Hasui was known to have traveled widely throughout Japan on "sketching excursions"--we strongly suspect that THIS EXACT black-and-white post card was, in fact, THE model for Hasui's famous 1933 "Zaimuko Island" image. Yes, admittedly Hasui may well indeed have visited to this site (Matsushima is on the northeastern coastline of Japan, a picturesque area of about 260 islands scattered around Matsushima Bay)--but even if so, he may well then have likely encountered these same post cards offered then as souvenirs to tourists of the time. Or, on the other hand, he may have in fact never visited to this somewhat remote location in Japan..... he may have simply viewed this same post card obtained from someone else who visited there. Likely we'll never know for sure..... Just our opinion, based on "what we see."

What do you think??


Next, we turn our attention to another old Japanese black-and-white photograph postcard--this time, part of a collection of cards which are KNOWN to have dated to a 1927 collection. Set side-by-side just below, we invite you to view this next pair.




Old 1927 Japanese Post Card and Shotei's late-1920's/early-1930's Print "Utagahama, Nikko"



Again we were immediately struck by the similarity of the Shotei woodblock print and the post card. Of course, we were not surprised by the uniquely similar shape of the distant mountain seen across Chuzenji Lake--since regardless of the artist's perspective or point of view, its shape would not change. However, again are eyes were immediately DRAWN to the little sailboat seen in the foreground of each print. So, as before, let's share a closer look.....






Close-up Detail of Old 1927 Japanese Post Card -- Shotei's ca late-1920's/early-1930's Print "Utagahama, Nikko"

Again, as in the above case of the Hasui print, it seems to us that the relative position and overall SHAPE of the two sailboats are "just too similar" to be purely a coincidence. And again, additional elements of the woodblock print seem to "oddly similar" to the photograph, including the shape of the tree's top edge and the relative position of the red torri. Finally, again in this case it seems quite likely that this 1927 post card pre-dates the undated (but likely late-1920's/early-1930's) "Utagahama, Nikko" print by Shotei.

Hence again--although the artist Shotei himself may well have indeed visited to this site in person--it again seems LIKELY to us that Shotei too may well have used THIS exact black-and-white post card image as THE source of his woodblock print.

As above, this is admittedly purely conjecture and opinion on our part. No proof--nothing else to go on other than our observations, our opinions, and what seems (at least to us) to be simply common sense. That said, we'll again let each observer reach their own conclusions.

So..... what does this mean?? (Well, really nothing.) Is it significant? (Certainly not.) It's just our way of further inviting you to sharpen your powers of observation, to open your minds to discovery, and to share the joy of observing Japanese prints.





#16 -- December 02, 2003 -- "Publisher's "Logo's" Hidden within Images"

As today's modern day marketers of products have so well learned, it pays to keep the "name" of their product (or their easily recognizable "logo") constantly in front of the eyes of their customers. Hence, just as the Nike "swoosh" is seen on all of Nike's products, so too are the easily recognizable "logo's" of other manufacturers seen on dozens of other products that we encounter every day.

This "advertising truth" was not unknown to the minds of Japanese publishers--not even 50 or even 150-plus years ago. Hence, a great many of the old "ukiyo-e" prints from throughout the 1800's are seen to typically carry their publisher's seal somewhere upon their printed page. Although sometimes these "publisher's seals" are found to be simply printed in a print's margins, the majority of the time they are located more prominently alongside the artist's name WITHIN the image area. In any case, it seems clear that these various publishers wanted their names to be seen--and toward that end, many adopted easily recognizable "logo's" that identified them as being a print's publisher. Pure and simple--advertising their "business name."

Koitsu's 1939 Print, "Kagurazaka at Ushigome"


And so, each time we gaze upon the well-known 1939 "Kagurazaka at Ushigome" print by Koitsu (seen above), we get a little amusement over Doi Publisher's usage of their "Doi" name which they've cleverly placed upon the large orange paper lantern seen in the alleyway of this print. Just like Nike's "swoosh," Doi has deliberately presented their name to be seen hundreds of times by their audience. Although this presentation was surely lost upon the eyes of most of the Americans or Europeans viewing this print, one can be certain that it WAS clearly seen by Doi's Japanese audience.






Early 1800's Sadatora "Bijin-ga" Print (by Ezakiya Tatsuzo Publisher"



In similar manner, upon first glance one might not immediately notice the publisher's seal which is again cleverly "hidden" within the above print's image. However, looking somewhat more carefully, one does then notice the identical green "symbols" which are printed somewhat boldly upon the faces of both of the two sailboat's white sails.




Close-up of Seals on Sadatora "Bijin-ga" Print (by Ezakiya Tatsuzo Publisher"



Looking then a bit closer at the various "artist/publisher/date" information seen in the print's lower right corner, it is then recognizable that the top "symbol" of the Ezakiya Tatsuzo Publisher's seal is the same as seen on both of our sailboat's sails. As in the previous example, one can be certain that this usage was not unnoticed by the Japanese audience of the time.





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